Black and White photography highlights a dramatic scene through the balance of light and shadow. Surround the same scene in the dark veil of night and the drama is further heightened.

This series of photographs reflects my interest in landscape photography, with an emphasis on the urban landscape. The subject matter is the scene that unfolds at night, where composition is informed as much by shadow as by artifact.

Inspired by poetry, the images in this exhibition draw the viewer in to another world experience.

This series is inspired by my poem ‘Meet Me in My Dreams”. The images are created using wet plate collodion. I scan and enlarge them to enhance the organic qualities of the medium. The work speaks to family, memory, and the ethereal passage of time.

The setting for many of the images is a fairytale landscape. My use of the young people celebrates the universal feeling of limitless potential that most people experience in their youth.The ghostlike figures are reflections of the later years when beauty and youth begin to fade. They suggest the feeling that one is beginning to disappear and yet still present and interacting in the scene.

One of our outstanding up and coming fine art photographers is West Coast resident Oliver Klink.

Oliver’s work has been published with National Geographic, Days of Japan, Black & White magazine, Popular Photography magazine, among others. In 2016, he was selected as Critical Mass Top 50 fine art photographer, “Best of the best” emerging fine art photographer by BWgallerist, and received People’s Choice award from Black and White Magazine single image contest. In 2014, his image “Herding Instinct” won the grand prize at the Rayko International Photo contest. Oliver is a master of the new digital printing process called Piezography. Originally from Switzerland, Oliver currently resides in Los Gatos, California with his wife.

“Consequences” addresses the current threats to natural and cultural diversity, sites where modernity, tradition, and wild lands collide. It is an elegy for what is vanishing and a celebration of those cultures resilient enough to maintain their vibrancy. As we drift toward a blandly amorphous, generic world, as cultures disappear and life becomes more uniform, we as a people and a species, and Earth itself, are deeply impoverished. The images take the viewer on a roller coaster ride of aesthetic of disappearance, with hope that the fading traditions are not permanent and irreversible.

Our friend Claire Seidl has a new exhibition online at RED Filter Gallery. Her artistic approach is captured below, but it is the mystery of her work that captures the viewer’s attention and imagination.

I shoot long exposures, ranging in time from a few minutes to several hours. Being very conscious that I cannot see in the dark or hold an image in my mind’s eye once I change my focus or move my head, I rely on the camera’s greater abilities. I use film and develop and print in my darkroom. Because I am also a painter, darkroom work seems like printmaking or drawing to me.

Susan May Tell brings the viewer with intelligent grace into an observed event with the intention of engagement and thoughtful meditation.

A quiet, intuitive photographer, her photographic process is to walk around, alone, led by her camera lens and instincts. Shooting film without a motor drive, as she does, slows down the process and allows her, and us, to suspend disbelief and operate on faith.

Richard Sherman returns to Red Filter Gallery with a mix of water inspired work in a new exhibition: “Above a Black Sea”. Richard shows a consistent eye to not only the whole image but details within the frame. The viewer is rewarded by the “whole” image, with additional benefits derived from focus on the image segments.

Over the last few years, I have spent a lot of time chasing boats. From tugboats to sailboats, from container ships to fishing trawlers, from Naval vessels to crab boats: they all hold a mystical attraction. As a photographer, I am drawn to the textures and geometries of boats: the sail triangles, the arcs of mooring lines, the parallelograms made by wire and shadows.

Geography as abstraction? Here is where Black and White photography excels in imposing a meditative state on the viewer.

Sangre is an exercise in the abstraction of nature. The series is a collection of large scale black and white images of the Sangre De Cristo mountain range in Colorado taken from an aerial perspective. The tight crops and the lack of sky or horizon lines attempt to dispel a sense of scale, while the absence of color endeavors to further obscure the perception of nature. By presenting these scenes without the usual “nature photography” references of horizon lines and color, the aim of the series is to blur the line between “abstract” and “nature” photography while asking the viewer to question the definition of each.

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